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This study focuses on an Attic red-figure kylix excavated in a North Etruscan ritual context at a major sanctuary site in the Mugello region at Poggio Colla. Attributed to the Painter of the Paris Gigantomachy (490–460 B. C. E.), the kylix depicts youths boxing. Careful excavation of the site over 20 years allows detailed presentation here of the votive context for the kylix and thus supports a plausible hypothesis for how it was integrated into rituals marking the transition from the first monumental stone temple to its successor at the site, sometime in the late fifth-early fourth century. Placing the kylix in the oeuvre of the painter, his workshop output, and its appearance in Etruria demonstrates that the shape and subject matter were well known to Etruscan audiences; discussion of the relationship of the Attic boxers to imagery in Etruscan tomb painting, black-figure silhouette style pottery, and funerary reliefs reveals links to and differences from Etruscan renderings of similar subject matter. Conclusions confirm the role of the Attic kylix in Etruscan ritual and establish the familiarity of the iconography of the kylix to Etruscan audiences. Although one of the  tinas cliniiar , Etruscan Pultuce and Greek Pollux, is identified in fourth-century Etruscan art as an outstanding boxer, this study reveals no obvious link between the imagery on the kylix and the major deity honored at the site, very likely the goddess Uni.

An Imported Attic Kylix from the Sanctuary at Poggio Colla